Music

23 Jan 2024

Dave Matthews Band Announce Dates For 2024 U.S. Summer Tour

The Dave Matthews Band announced the dates for their annual summer amphitheater run on Tuesday (Jan. 23). The group’s 32-date 2024 U.S. tour is slated to kick off on May 22 at the MIDFLORIDA Credit Union Amphitheatre in Tampa, FL and wind down with a trio of shows at the Gorge Amphitheatre in George, WA on August 30, 31 and Sept. 1; the band traditionally celebrates Labor Day weekend at the picturesque venue in Washington state, selling out every one of their previous 70 shows there.

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The Live Nation-promoted outing will also include multiple nights at venues in West Palm Beach, Jacksonville, East Troy (WI), Noblesville (IN), Saratoga Springs (NY), Gilford (NH) and Greenwood Village (CO).

This summer’s tour will feature the debut of the DMB’s new sustainability efforts as part of its partnership with Live Nation on the “On the Road To Zero Waste” initiative. Matthews — named a UN Environment Goodwill Ambassador in 2019 — and the band will work with LN-operated venues on the routing to minimized concert attendees’ footprint, with a goal of diverting at least 90% of fan-generated waste from landfills, according to a release announcing the dates.

LN will support the goal by providing zero waste green teams, zero waste stations, food donations, waste sorting, composting and minimal single-use plastics at their venues. DMB will also continue its partnership with The Nature Conservancy’s Plant a Billion Trees campaign by pledging to plant another one million trees, bringing the band’s total to five million trees planted since first joining the reforestation project in 2020; click here for more information. The DMB has also pledged to offset carbon emissions for the band/fan travel via a collaboration with REVERB.

An online ticket presale for members of the DMB Warehouse Fan club is open now here, with a Citi presale slated to kick off on Feb. 13 at 9 a.m. local time until Feb. 15 at 10 p.m. local time through the Citi Entertainment program. The general onsale begins Feb. 16 at 10 a.m. local time.

DMB 2024 U.S. summer tour dates:

May 22 — Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre

May 24 — West Palm Beach, FL @ iTHINK Financial Amphitheatre

May 25 — West Palm Beach, FL @ iTHINK Financial Amphitheatre

May 28 — Jacksonville, FL @ Daily’s Place Amphitheater                         

May 29 — Jacksonville, FL @ Daily’s Place Amphitheater

May 31 — The Woodlands, TX @ Cynthia Woods Mitchell Pavilion

June 1 — Dallas, TX @ Dos Equis Pavilion

June 12 — Alpharetta, GA @ Ameris Bank Amphitheatre

June 14 — Raleigh, NC @ Coastal Credit Union Music Park

June 15 — Virginia Beach, VA @ Veterans United Home Loans Amphitheater

June 21 — East Troy, WI @ Alpine Valley Music Theatre

June 22 — East Troy, WI @ Alpine Valley Music Theatre

June 25 — Cuyahoga Falls, OH @ Blossom Music Center

June 26 — Clarkston, MI @ Pine Knob Music Theatre

June 28 — Noblesville, IN @ Ruoff Music Center

June 29 — Noblesville, IN @ Ruoff Music Center

July 5 — Saratoga Springs, NY @ Broadview Stage at SPAC

July 6 — Saratoga Springs, NY @ Broadview Stage at SPAC

July 9 — Wantagh, NY @ Northwell Health at Jones Beach Theater

July 10 — Holmdel, NJ @ PNC Bank Arts Center

July 12 — Mansfield, MA @ Xfinity Center

July 13 — Bristow, VA @ Jiffy Lube Live

July 16 — Gilford, NH @ BankNH Pavilion

July 17 — Gilford, NH @ BankNH Pavilion

July 19 — Camden, NJ @ Freedom Mortgage Pavilion

July 20 — Camden, NJ @ Freedom Mortgage Pavilion

August 23 — Greenwood Village, CO @ Fiddler’s Green Amphitheatre

August 24 — Greenwood Village, CO @ Fiddler’s Green Amphitheatre

August 27 — Bend, OR @ Hayden Homes Amphitheater

August 30 — George, WA @ The Gorge Amphitheatre

August 31 — George, WA @ The Gorge Amphitheatre

Sept. 1 — George, WA @ The Gorge Amphitheatre

23 Jan 2024

Forever No. 1: David Soul’s ‘Don’t Give Up on Us’

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late David Soul by looking at the TV star’s lone major U.S. hit as a recording artist: The ’70s soft-rock ballad “Don’t Give Up on Us.”

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“My name is David Soul and I want to be known for my music.”

The mid-to-late ’70s were a peak period for television’s impact on the Billboard charts. With primetime TV modernizing and diversifying under the influence of innovators like Norman Lear and Aaron Spelling, the biggest shows were crossing over into all parts of popular culture, with theme songs for such hit shows as Happy Days, Welcome Back Kotter and S.W.A.T. all becoming Billboard Hot 100 smashes. What’s more, the stars of the shows themselves were starting to launch pop careers: John Travolta, then best known as Kotter high-school lunk Vinnie Barbarino, had a top 10 single in 1976 with the soft ballad “Let Her In”; a few years later, actor David Naughton reached the top 5 with the discofied title theme to his starring vehicle Makin’ It.

David Soul, star of hit ’70s undercover-cop show Starsky & Hutch — he was Hutch — also benefited from the TV-pop boom of the times. But unlike the aforementioned actor-artists, Soul’s recording career wasn’t just some dalliance or cash-in on a popularity that had simply grown too big for a single medium: He had actually started out as a musician. Soul went the folkie route in the Midwest in the mid-’60s before trying to make it in New York by performing masked and billing himself as “The Covered Man,” finding some success as a guest on variety shows like The Merv Griffin Show, where he would regularly deliver that line up top about wanting to be recognized for his music. Once he revealed himself to be a handsome, blond young man, the novelty of his anonymous routine wore off — but he started attracting the attention of producers in film and TV, who cast him in small guest roles on Flipper, Star Trek, The Streets of San Francisco and more big shows of the late ’60s and ’70s.

His big break came with Starsky & Hutch in 1975, as the action drama won viewers over with its cool cars, hip style (at least by mid-’70s TV standards) and likeable characters. With the show a success and Soul a primetime heartthrob, he saw the opportunity to relaunch his music career — signing to Private Stock records, with promises that he’d be taken seriously as a musician. In 1976, he released his self-titled debut album, and in early 1977, its breakout ballad “Don’t Give Up on Us” started climbing the Hot 100, becoming Soul’s first hit single.



But “Don’t Give Up on Us” wasn’t actually featured on initial pressings of David Soul. In fact, the dead-center top 40 love song doesn’t sound much like anything else on the album, which is much more in line with the acclaimed work of sardonic ’70s singer-songwriters like Randy Newman and Harry Nilsson — maybe with a bit of ’60s psych-pop mad geniuses like Brian Wilson and Syd Barrett thrown in — and even features a cover of Leonard Cohen’s signature ballad “Bird on a Wire.” But the album had received only limited release by the time Soul had recorded “Give Up,” and sensing hit potential, Private Stock quickly recalled and re-pressed the album to include the new song.

It’s not surprising that the label saw potential in the song, or that they were ultimately validated for doing so. “Give Up” was penned and co-produced by veteran hitmaker Tony Macauley, who helmed a number of major pop hits of the late ’60s and ’70s — even including two of the Billboard staff’s 500 Best Pop Songs of the Hot 100 era, The Foundations’ “Build Me Up Buttercup” and Edison Lighthouse’s “Love Grows (Where My Rosemary Goes).” “I talked to Tony from the stage of Starsky and Hutch,” Soul told Fred Bronson for The Billboard Book of Number 1 Hits of Macauley trying to sell him on meeting to record a couple songs. “I liked the way he talked to me on the phone so I just said, ‘Sure, come on over.’”

“Give Up” carries Macauley’s deft and delicate touch in its tender melody, with a satisfying and unpredictable chord structure and arrangement reminiscent of Burt Bacharach. The lyrics are mostly sappy and a little silly throughout (“Can’t we stay the way we are?/ The angel and the dreamer/ Who sometimes plays a fool”), but a mysterious bridge where Soul admits, “I really lost my head last night/ You’ve got a right to stop believing,” does introduce a little drama and complexity to the narrative. And the refrain, which weaponizes its title plea by putting it right at the top each time, gets its hooks in you from the very start — leading off the song and appearing consistently enough throughout it to never really let you go from there.

It’s never less than a professional pop production, and one that Soul himself is more than capable of selling with his lilting baritone — particularly when his voice gets double-tracked for some gorgeous self-harmonies on subsequent choruses — which grows just mighty enough to handle the money note on his climactic “We can still come through” insistence. It’s not the most demanding or challenging song, certainly, but it was a perfect fit on late-’70s AM radio, and a natural smash on the Hot 100 in the era of pillow-soft romantic-strife ballad No. 1s like Mary McGregor’s “Torn Between Two Lovers” and Chicago’s “If You Leave Me Now.”

april 1977 hot 100

Billboard

The song debuted at No. 74 on the Hot 100 dated Jan. 29, 1977, about two-thirds of the way through Starsky & Hutch‘s second season. A little less than three months later, it topped the listing dated Apr. 16, replacing ABBA’s “Dancing Queen” on top before giving way to Thelma Houston’s “Don’t Leave Me This Way” just a week later — with the dancefloor classics on both sides of its No. 1 run portending the complete disco takeover that would nearly consume the chart in the final years of the decade. The song also topped the Official Charts in the U.K., where Soul was even more of a teen idol, and began an impressive run of hits for the singer that also included a trio of top 10 hits from his sophomore album, 1977’s Playing to an Audience of One, led by a second No. 1 hit in the more prowling “Silver Lady.”



But in the States, “Don’t Give Up on Us” was Soul’s lone visit to the top 40. No additional singles were pulled from David Soul, and while both “Lady” and the Manilow-esque “Going In With My Eyes Open” hit the Hot 100 from Audience of One, neither made it past the 50s. Soul got lost in the MOR shuffle of the late ’70s — it was probably never particularly natural terrain for the former folkie to begin with — and perhaps subsumed a little on radio by disco’s growing dominance. Starsky & Hutch only lasted another couple seasons, as ratings declined and co-star Paul Michael Glaser wanted off the show. By the ’80s, Soul was largely a Me Decade relic in the U.S., starring in a couple failed TV series (including an ill-fated small-screen adaptation of Casablanca) and eventually moving to the U.K. to successfully pursue theater work.

Becoming a ’70s pop one-hit wonder — especially with such a massive one hit — probably isn’t what Soul would have guessed would be his primary musical legacy when he was first starting out in the mid-’60s. But David Soul wanted to be remembered for his music, and if nothing else, “Don’t Give Up on Us” ensured that every obituary published about him in the past month had to get in at least one sentence in the lead paragraph about it.

23 Jan 2024

Selena Gomez Says She’s ‘Proud’ of Her Body: ‘It’s OK to Be Me’

Selena Gomez is proud to be rare. In a duo of posts on her Instagram Story Monday (Jan. 22), the 31-year-old pop star got vulnerable about her recent feelings toward body image and compared two photos of herself in a bikini from different times in her life.

In the first photo shared by the Rare Beauty founder, a younger, slimmer Gomez stands by the pool in a Zebra-print two-piece. “Today, I realized I will never look like this again….,” wrote the Only Murders in the Building actress.

Then, sharing a more recent snapshot of herself in a swimsuit, climbing the steps of a boat, Gomez added, “I’m not perfect but I am proud to be who I am..sometimes i forget it’s ok to be me.”

The “Calm Down” singer has long been an advocate for body positivity, and has been open about how she’s experienced fluctuations in her weight since being diagnosed with Lupus in the 2010s. “It was like they couldn’t wait to find a thing to bring me down,” she said of trolls who attack her appearance online in a March podcast.

“I would go online and post a picture of myself and I would say, ‘It doesn’t matter. I’m not accepting what you’re saying,’ all the while being in the room posting that crying my eyes out, ’cause nobody deserves to hear those things,” she added at the time.

The Emmy nominee is currently preparing her upcoming album, and dropped a track “Single Soon” in August. The song was produced by Benny Blanco, Gomez’s boyfriend of several months.

23 Jan 2024

Billie Eilish & Finneas ‘Are So Incredibly Honored’ by Best Original Song Oscar Nod for ‘What Was I Made For?’

They’re both floating on cloud nine! Billie Eilish and brother Finneas‘ “What Was I Made For?” from the Barbie soundtrack earned a 2024 Academy Award nomination for best original song on Tuesday (Jan. 23), and the siblings are delighted by the honor.

“We are so incredibly honored to receive a nomination for ‘What Was I Made For?,’” the brother-sister duo said in a join statement shared to their social media accounts shortly after the nominations were announced. “As lifelong fans of film, music in film and the Academy Awards, this means everything to us. We are so grateful to the Academy, its members, and to be recognized alongside so many songwriters that we respect and admire.”

The siblings went on to thank director-writer Greta Gerwig and Barbie co-writer Noah Baumbach, as well as the film’s cast and crew. The pair had a few special shout-outs to share as well. “Thank you to Mark Ronson and Andrew Wyatt for weaving our song into the fabric and heart of this film so well,” they continued, giving props to the two songwriters who also penned “I’m Just Ken,” which is also competing in the same category. “And a special shout out to Margot Robbie for her incredible foresight as a producer and brilliant performance that resonated with us so profoundly when writing this song. We are truly honored.”

This is the second Oscar nomination for Eilish and Finneas. They were previously nominated in the best original song category in 2022 for their James Bond track “No Time to Die,” which won over Beyonce’s “Be Alive” from King Richard, Lin-Manuel Miranda’s “Dos Oruguitas” from Encanto, Van Morrison’s “Down to Joy” from Belfast, and Diane Warren’s “Somehow You Do” from Four Good Days.

The Academy Awards will be hosted by Jimmy Kimmel at the Dolby Theatre at Ovation Hollywood on March 10.

23 Jan 2024

Amy Winehouse Takes a Hotel Stroll in New ‘In My Bed’ Lyric Video Featuring Previously Unseen Footage

Amy Winehouse takes a casual stroll through a chic hotel in the new official lyric video for the late singer’s 2004 song “In My Bed.” The visual is comprised of previously unseen footage from the original video that was released on April 5, 2004.

The jazzy R&B track was featured on Winehouse’s debut full-length album, Frank, and the lyric clip finds the then-20-year-old singer striking poses on the hotel front desk in a flowered dress, with her soon-to-be-signature sky-high beehive hairdo not in evidence in favor of a shoulder-length down do. In other footage Winehouse grabs a mic in front of her live band and sings, “Like two ships passing in the night/ In the night, in the night/ Want the same thing where we lay/ Otherwise mine’s a different way.”

The video refresh — the original was directed by Paul Gore — comes as Frank has been reissued in a limited-edition 2LP picture disc edition. The LP features the singles “Take The Box,” “Stronger Than Me,” F–k Me Pumps” and “In My Bed,” and has the original sleeve imagery, plus additional images by Valerie Phillips from the original album photoshoot.

Winehouse died on July 23, 2001 at age 27 of an accidental alcohol overdose after years of substance use struggles. Her life will be honored in the upcoming Sam Taylor-Johnson-directed biopic Back to Black starring Industry‘s Marisa Abela. The Studio Canal film written by Matt Greenhalgh (Nowhere Boy) was made with the support of the Winehouse estate, Universal Music Group and Sony Music Publishing and will feature a number of the “Rehab” singer’s most beloved hits.

Back to Black opens in the U.S. on May 10.

Watch the new “In My Bed” lyric video below.



23 Jan 2024

Here Are the 2024 Oscar Nominees for Best Original Song and Score – and the Shortlisted Works That Didn’t Make It

Two songs from Barbie were nominated for best original song on Tuesday (Jan. 23) – “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt) and “What Was I Made For?” (written by Billie Eilish and Finneas). A third song from the blockbuster film, “Dance the Night” (on which Ronson and Wyatt collaborated with Dua Lipa and Caroline Ailin) failed to advance to the finals. (Based on a 2008 rule change, no more than two songs from a film can be nominated.)

Barbie is the first film to spawn two best song nominees since La La Land seven years ago. “City of Stars” and “Audition (The Fools Who Dream)” were both nominated. “City of Stars” went on to win. Unlike with Barbie, both songs were written by the same team – composer Justin Hurwitz and lyricists Benj Pasek and Justin Paul.

“What Was I Made For?” is also a Grammy nominee for song of the year.

Oscar perennial Diane Warren was nominated with “The Fire Inside” from Flamin’ Hot. This is her 15th best original song nomination, a benchmark that only five songwriters have reached. This is the seventh consecutive year in which Warren has been nominated, the longest streak in this category since Sammy Cahn was nominated eight years running, from 1954 to 1961.

Warren has yet to win a competitive Oscar. She is one of just five people in Oscar history to amass so many nominations without a win. She joins sound mixer Greg P. Russell (16 nods), the late art director Roland Anderson (15), composer Thomas Newman (15) and the late composer Alex North (15).

Jon Batiste, who won an Oscar three years ago for collaborating on the Soul score with Trent Reznor and Atticus Ross, landed his first best original song nod for “It Never Went Away” from American Symphony, a documentary about a year in his life. Batiste co-wrote the song with Dan Wilson. The pair also have a Grammy song of the year nomination, but for a different song, “Butterfly.”  American Symphony was passed over for a nod for best documentary feature.

 “Wahzhazhe (A Song for My People)” from Killers of the Flower Moon was a surprise nominee. The song is credited to The Osage Tribe. Many expected Lenny Kravitz’s “Road to Freedom” to be nominated, but it fell short.

In the best original score category, Ludwig Göransson was nominated for his score for Oppenheimer. The Swedish composer won in this category five years ago for scoring Black Panther. He was nominated for an Oscar last year for co-writing a song for the sequel. 

John Williams was nominated for Indiana Jones and the Dial of Destiny. This is Williams’ record-extending 49th nod in a scoring category and his fourth for a film in the Indiana Jones franchise. In total, it is Williams’ 54th Oscar nomination (the other five are for best original song), which pulls him closer to Walt Disney’s all-time record of 59 for an individual.

The late Robbie Robertson was nominated for Killers of the Flower Moon. This was the 12th and last Martin Scorsese film that Robertson worked on. Robertson, who died in June at age 80, is the first composer to be nominated in this category posthumously since the legendary Bernard Herrmann was cited in 1976 for both Obsession and Taxi Driver.

Laura Karpman received her first Oscar nod for American Fiction. Karpman is the fifth woman to receive a nomination in this category in the last 25 years, following Rachel Portman (The Cider House Rules and Chocolat), Mica Levi (Jackie), Hildur Guðnadóttir (Joker), Germaine Franco (Encanto). Note: Levi, who was shortlisted this year for her score for The Zone of Interest, came out as non-binary subsequent to her nod for Jackie.

English musician Jerskin Fendrix landed his first Oscar nod for scoring Poor Things. Scores expected to make the cut that fell short were Daniel Pemberton’s Spider Man: Across the Spider-Verse and Anthony Willis’ Saltburn.

The 96th Oscars will be held on Sunday, March 10, at the Dolby Theatre at Ovation Hollywood, and will be televised live on ABC. Jimmy Kimmel is hosting for the fourth time.

Here’s a complete list of the songs that were nominated for best original song, followed by a complete list of the shortlisted songs that were not nominated.

Nominated Songs

“It Never Went Away”
Jon Batiste, Dan Wilson
American Symphony, Netflix

“I’m Just Ken”
Mark Ronson, Andrew Wyatt
Barbie, Warner Bros.

“What Was I Made For?”
Billie Eilish, FINNEAS
Barbie, Warner Bros.

“The Fire Inside”
Diane Warren
Flamin’ Hot, Hulu/Searchlight Pictures

“Wahzhazhe (A Song for My People)”
The Osage Tribe
Killers of the Flower Moon (Apple Original Films/Paramount Pictures)

Shortlisted Songs That Were Not Nominated

“Dear Alien (Who Art in Heaven)”
Jarvis Cocker, Richard Hawley, Wes Anderson
Asteroid City, Focus Features

“Dance the Night”
Caroline Ailin, Dua Lipa, Mark Ronson, Andrew Wyatt
Barbie, Warner Bros.

“Keep It Movin’”
Halle Bailey, Denisia Andrews, Brittany Coney, Morten Ristorp
The Color Purple, Warner Bros.

“Superpower (I)”
The-Dream
The Color Purple, Warner Bros.

“High Life”
Gary Clark, John Carney, Eve Hewson
Flora and Son, Apple

“Meet in the Middle”
Gary Clark, John Carney, Eve Hewson, Joseph Gordon-Levitt, John Ardiff
Flora and Son, Apple

“Can’t Catch Me Now”
Dan Nigro, Olivia Rodrigo
The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate

“Quiet Eyes”
Zach Dawes, Sharon Von Etten
Past Lives, A24

“Road to Freedom”
Lenny Kravitz
Rustin, Netflix

“Am I Dreaming”
A$AP Rocky, Metro Boomin, Michael Dean, Peter Lee Johnson, Roisee, Scriptplugg
Spider-Man: Across the Spider-Verse, Sony Pictures

Here’s a complete list of the scores that were nominated for best original score, followed by a list of the shortlisted scores that were not nominated.

Nominated Scores

American Fiction (Orion Pictures/Amazon MGM)
Laura Karpman

Indiana Jones and the Dial of Destiny (Disney)
John Williams

Killers of the Flower Moon (Apple)
Robbie Robertson

Oppenheimer (Universal Pictures)
Ludwig Göransson

Poor Things (Searchlight Pictures)
Jerskin Fendrix

Shortlisted Scores That Were Not Nominated

American Symphony (Netflix)
Jon Batiste

Barbie (Warner Bros.)
Mark Ronson, Andrew Wyatt

The Boy and the Heron (GKids)
Joe Hisaishi 

The Color Purple (Warner Bros.)
Kris Bowers

Elemental (Pixar)
Thomas Newman

The Holdovers (Focus Features)
Mark Orton

Saltburn (Amazon/MGM)
Anthony Willis

Spider-Man: Across the Spider-Verse (Sony Pictures)
Daniel Pemberton

Society of the Snow (Netflix)
Michael Giacchino

The Zone of Interest (A24)
Mica Levi

23 Jan 2024

‘Oppenheimer’ Leads 2024 Oscar Nominations: See the Full List

Oppenheimer is the top nominee for the 2024 Oscars, with 13 nods.

All five of the films nominated for best film last week at the BAFTA Film Awards (Anatomy of a Fall, The Holdovers, Killers of the Flower Moon, Oppenheimer and Poor Things) were nominated for best picture Academy Awards, along with five additional films – Barbie, Past Lives, American Fiction, Maestro and The Zone of Interest.

This marks the first time in Oscar history that three films not in English – Anatomy of a Fall, Past Lives and The Zone of Interest – are in the running as best picture nominees. This also marks the sixth consecutive year that one or more films in a language other than English has received a best picture nomination.

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For the fifth consecutive year, at least one film nominated for best picture was directed by a woman. But that picture was not the box office blockbuster Barbie — directed by Greta Gerwig — but rather Anatomy of a Fall, directed by Justine Triet (Sibyl).

Two actors are nominated for lead acting honors and as producers of best picture contenders. Bradley Cooper achieved his double play for Maestro, while Emma Stone earned hers for Poor Things. Stone is the second woman to be nominated for acting and best picture for the same film, following Frances McDormand (Nomadland, 2020). This ups Cooper’s career nominations total to 12 and Stone’s to five.

Cooper was also nominated in the original screenplay category, but was passed over for a best director nod. Cooper becomes the fourth person to direct himself to an acting nomination on more than one film (A Star Is Born, 2018). He follows Laurence Olivier, Warren Beatty and Clint Eastwood.

Two songs from Barbie were nominated for best original song – “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt) and “What Was I Made For?” (written by Billie Eilish and Finneas). A third song from the blockbuster film, “Dance the Night” (on which Ronson and Wyatt collaborated with Dua Lipa and Caroline Ailin) failed to advance to the finals. (Based on a 2008 rule change, no more than two songs from a film can be nominated.

Barbie is the first film to spawn two best song nominees since La La Land seven years ago. “City of Stars” and “Audition (The Fools Who Dream)” were both nominated in 2016, with “City of Stars” going on to win.

Oscar perennial songwriter Diane Warren was nominated for “The Fire Inside” from the Cheetos dramedy Flamin’ Hot. This is her 15th best original song nomination, a benchmark that only five songwriters have reached. This is the seventh consecutive year in which Warren has been nominated, the longest streak in this category since Sammy Cahn was nominated eight years running, from 1954-61.

John Williams received his record-extending 49th nod in a scoring category for Indiana Jones and the Dial of Destiny. His overall total of 54 nominations (including five for best original song) is the most for any living person, and second only to Walt Disney at 59. He is also the oldest nominee in a competitive award category at 91 years of age.

The late Robbie Robertson was also nominated for best original score for Killers of the Flower Moon. This was the 12th and last Martin Scorsese film that late Band leader Robertson worked on. Robertson, who died in June at age 80, is the first composer to be nominated in this category posthumously since the legendary Bernard Herrmann was cited in 1976 for both Obsession and Taxi Driver.

Jimmy Kimmel is set to host the 2024 Oscars, which will be held March 10 at its usual home, the Dolby Theatre at Ovation Hollywood. It will mark Kimmel’s fourth time as host.

The Oscar ceremony, which will air on ABC, will be executive produced by Raj Kapoor, Molly McNearney and Katy Mullan, with Kapoor also serving as showrunner. Hamish Hamilton will serve as director. The final round of voting extends from Feb. 22-27.

Here’s the full list of 2024 Oscar nominations.

 Best motion picture of the year

    “American Fiction,” Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers

    “Anatomy of a Fall,” Marie-Ange Luciani and David Thion, Producers

    “Barbie,” David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers

    “The Holdovers,” Mark Johnson, Producer

    “Killers of the Flower Moon,” Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers

    “Maestro,” Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers

    “Oppenheimer,” Emma Thomas, Charles Roven and Christopher Nolan, Producers

    “Past Lives,” David Hinojosa, Christine Vachon and Pamela Koffler, Producers

    “Poor Things,” Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers

    “The Zone of Interest,” James Wilson, Producer

Performance by an actor in a leading role

    Bradley Cooper in “Maestro”

    Colman Domingo in “Rustin”

    Paul Giamatti in “The Holdovers”

    Cillian Murphy in “Oppenheimer”

    Jeffrey Wright in “American Fiction”

Performance by an actor in a supporting role

    Sterling K. Brown in “American Fiction”

    Robert De Niro in “Killers of the Flower Moon”

    Robert Downey Jr. in “Oppenheimer”

    Ryan Gosling in “Barbie”

    Mark Ruffalo in “Poor Things”

Performance by an actress in a leading role

    Annette Bening in “Nyad”

    Lily Gladstone in “Killers of the Flower Moon”

    Sandra Hüller in “Anatomy of a Fall”

    Carey Mulligan in “Maestro”

    Emma Stone in “Poor Things”

Performance by an actress in a supporting role

    Emily Blunt in “Oppenheimer”

    Danielle Brooks in “The Color Purple”

    America Ferrera in “Barbie”

    Jodie Foster in “Nyad”

    Da’Vine Joy Randolph in “The Holdovers”

Achievement in directing

    “Anatomy of a Fall,” Justine Triet

    “Killers of the Flower Moon,” Martin Scorsese

    “Oppenheimer,” Christopher Nolan

    “Poor Things,” Yorgos Lanthimos

    “The Zone of Interest,” Jonathan Glazer

Adapted screenplay

    “American Fiction,” Written for the screen by Cord Jefferson

    “Barbie,” Written by Greta Gerwig & Noah Baumbach

    “Oppenheimer,” Written for the screen by Christopher Nolan

    “Poor Things,” Screenplay by Tony McNamara

    “The Zone of Interest,” Written by Jonathan Glazer

Original screenplay

    “Anatomy of a Fall” Screenplay – Justine Triet and Arthur Harari

    “The Holdovers” Written by David Hemingson

    “Maestro” Written by Bradley Cooper & Josh Singer

    “May December” Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik

    “Past Lives” Written by Celine Song

Achievement in music written for motion pictures (Original score)

    “American Fiction,” Laura Karpman

    “Indiana Jones and the Dial of Destiny,” John Williams

    “Killers of the Flower Moon,” Robbie Robertson

    “Oppenheimer,” Ludwig Göransson

    “Poor Things,” Jerskin Fendrix

Achievement in music written for motion pictures (Original song)

    “The Fire Inside” from “Flamin’ Hot”; Music and Lyric by Diane Warren

    “I’m Just Ken” from “Barbie”; Music and Lyric by Mark Ronson and Andrew Wyatt

    “It Never Went Away” from “American Symphony”; Music and Lyric by Jon Batiste and Dan Wilson

    “Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”; Music and Lyric by Scott George

    “What Was I Made For?” from “Barbie”; Music and Lyric by Billie Eilish and Finneas O’Connell

Best animated feature film of the year

    “The Boy and the Heron,” Hayao Miyazaki and Toshio Suzuki

    “Elemental,” Peter Sohn and Denise Ream

    “Nimona,” Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary

    “Robot Dreams,” Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz

    “Spider-Man: Across the Spider-Verse,” Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal

Achievement in cinematography

    “El Conde,” Edward Lachman

    “Killers of the Flower Moon,” Rodrigo Prieto

    “Maestro,” Matthew Libatique

    “Oppenheimer,” Hoyte van Hoytema

    “Poor Things,” Robbie Ryan

Achievement in costume design

    “Barbie,” Jacqueline Durran

    “Killers of the Flower Moon,” Jacqueline West

    “Napoleon,” Janty Yates and Dave Crossman

    “Oppenheimer,” Ellen Mirojnick

    “Poor Things,” Holly Waddington

Best documentary feature film

    “Bobi Wine: The People’s President,” Moses Bwayo, Christopher Sharp and John Battsek

    “The Eternal Memory” Nominees to be determined

    “Four Daughters,” Kaouther Ben Hania and Nadim Cheikhrouha

    “To Kill a Tiger,” Nisha Pahuja, Cornelia Principe and David Oppenheim

    “20 Days in Mariupol,” Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath

Best documentary short film

    “The ABCs of Book Banning,” Sheila Nevins and Trish Adlesic

    “The Barber of Little Rock,” John Hoffman and Christine Turner

    “Island in Between,” S. Leo Chiang and Jean Tsien

    “The Last Repair Shop,” Ben Proudfoot and Kris Bowers

    “Nǎi Nai & Wài Pó,” Sean Wang and Sam Davis

Achievement in film editing

    “Anatomy of a Fall,” Laurent Sénéchal

    “The Holdovers,” Kevin Tent

    “Killers of the Flower Moon,” Thelma Schoonmaker

    “Oppenheimer,” Jennifer Lame

    “Poor Things,” Yorgos Mavropsaridis

Best international feature film of the year

    “Io Capitano,” Italy

    “Perfect Days,” Japan

    “Society of the Snow,” Spain

    “The Teachers’ Lounge,” Germany

    “The Zone of Interest,” United Kingdom

Achievement in makeup and hairstyling

    “Golda,” Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue

    “Maestro,” Kazu Hiro, Kay Georgiou and Lori McCoy-Bell

    “Oppenheimer,” Luisa Abel

    “Poor Things,” Nadia Stacey, Mark Coulier and Josh Weston

    “Society of the Snow,” Ana López-Puigcerver, David Martí and Montse Ribé

Achievement in production design

    “Barbie,” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer

    “Killers of the Flower Moon,” Production Design: Jack Fisk; Set Decoration: Adam Willis

    “Napoleon,” Production Design: Arthur Max; Set Decoration: Elli Griff

    “Oppenheimer,” Production Design: Ruth De Jong; Set Decoration: Claire Kaufman

    “Poor Things,” Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek

Best animated short film

    “Letter to a Pig,” Tal Kantor and Amit R. Gicelter

    “Ninety-Five Senses,” Jerusha Hess and Jared Hess

    “Our Uniform,” Yegane Moghaddam

    “Pachyderme,” Stéphanie Clément and Marc Rius

    “WAR IS OVER! Inspired by the Music of John & Yoko,” Dave Mullins and Brad Booker

Best live action short film

    “The After,” Misan Harriman and Nicky Bentham

    “Invincible,” Vincent René-Lortie and Samuel Caron

    “Knight of Fortune,” Lasse Lyskjær Noer and Christian Norlyk

    “Red, White and Blue,” Nazrin Choudhury and Sara McFarlane

    “The Wonderful Story of Henry Sugar,” Wes Anderson and Steven Rales

Achievement in sound

    “The Creator,” Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic

    “Maestro,” Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic

    “Mission: Impossible – Dead Reckoning Part One,” Chris Munro, James H. Mather, Chris Burdon and Mark Taylor

    “Oppenheimer,” Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell

    “The Zone of Interest,” Tarn Willers and Johnnie Burn

Achievement in visual effects

    “The Creator,” Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould

    “Godzilla Minus One,” Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima

    “Guardians of the Galaxy Vol. 3,” Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek

    “Mission: Impossible – Dead Reckoning Part One,” Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould

    “Napoleon,” Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould

23 Jan 2024

Ludacris Dramedy About Early Rap Career in Development at BET+

If you’ve ever heard Ludacris talk about the early days of his career working as an intern at Atlanta’s Hot 97.5 under the name “Chris Lova Lova,” then parlaying his undeniable hustle into a nearly three-decade run as a hitmaker, movie actor and author, then you know there’s a great story there.

A story that could be coming to BET+.

According to The Hollywood Reporter, the streamer is developing an untitled half-hour scripted dramedy inspired by the life of the man born Chris Bridges, focusing on his experience “coming up in the competitive music scene in Atlanta as DJ Chris Lova Lova.”

The show will follows the “misadventures of a sharply drawn ensemble who are willing to do anything and everything to bolster ratings at their hip-hop radio station.” The script for the potential series currently in development will be written and executive produced by Noah Gardenswartz (The Marvelous Mrs. Maisel), with Luda slated to serve as an executive producer and music supervisor.

The series is being developed by Universal Television and Disturbing Tha Peace, the label the rapper launched in the late 1990s along with his longtime manager, Chaka Zulu, who will also serve as an executive producer; Larry Wilmore (The Daily Show, Insecure) and Malcolm D. Lee (Night School, Girls Trip) are also on board as exec producers.

While it’s not yet known if the series will get a full green light, Luda will be on your screens soon as he was recently announced as one of the judges — alongside Latto and DJ Khaled — on the reboot of Netflix’s hip-hop competition show, Rhythm + Flow. The series is slated for a long-awaited return later this year for season two after a five year hiatus; the first run of the show featured guest judges Cardi B, Chance the Rapper and T.I.

23 Jan 2024

What You Need: INXS Launches Limited-Edition Jewelry Range

INXS‘ latest project is crafted from precious metal.

Having mined platinum across a decades-long career, the new wave act unveils a limited-edition jewelry range, made with 100% recycled silver.

A collaboration with Australia-based jeweler Michael Hill, the collection includes five unique pieces, including guitar pick pendants, rings, cuff, and a time capsule locket – all featuring signature band motifs.

“INXS is synonymous with music, but also fashion and lifestyle,” comments INXS drummer Jon Farriss in a statement. “Whether we were onstage performing live, filming a video or simply hanging out in our recording studio, we enjoyed finding and wearing funky bohemian jewelry which had personal meaning as well as catching a twinkle of light, while adding a sprinkle of attitude,” adds Farriss. “We are really digging these Michael Hill designs that reflect some of the things we still wear today – I still wear my INXS dog tags!”

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The Michael Hill x INXS collection starts from A$169 ($111), and is available online and instore across Australia, New Zealand and Canada, until stocks last. Additional pieces in the range are expected to be released later in 2024.

The fashion-meets-rock team-up follows a 2022 Michael Hill “origin story” ad campaign, which was soundtracked by INXS’ iconic 1987 ballad “Never Tear Us Apart”.

“When we were planning and conceptualizing each piece, we wanted to ensure we honored the band’s stylistic history,” comments Maria Then, Michael Hill’s head of product design. “We have worked closely with INXS to build our jewelry range, which features an autographed guitar pick pendant that replicates the band’s actual guitar picks, heavy chains with hardware closures, and nods to some of their beautiful lyrics.”

This year marks the 47th anniversary for INXS, which has sold more than 70 million records sold worldwide, according to Petrol Records, and whose catalog has accumulated more than 4 billion streams.

Formed in Western Australia in 1977, INXS scaled the loftiest mountain of popular music with six U.K. top 10 albums (including a No. 1 with Welcome To Wherever You Are from 1992) and five U.S. top 20 albums, a BRIT Award (in 1991 for best international group) and, in 2001, elevation into the ARIA Hall of Fame.

The band’s journey was tragically derailed by the 1997 death of lead singer Michael Hutchence, at the age of just 37, though INXS continued for a time with replacement singers.

The surviving members of INXS reunited last October in Sydney to present Calling All Nations, a 400-plus “love letter” created by a global fanbase and the band. UMG’s Andrew Kronfeld and Live Nation’s Arthur Fogel contributed essays.

Despite calling time on touring more than a decade ago, the INXS story continues to grow. The band’s multi-platinum career retrospective from 2011, INXS – The Very Best, was the top album by a homegrown artist in Australia, according to year-end 2023 trade data published earlier this month by ARIA.

Check out the Michael Hill x INXS range here.

23 Jan 2024

Noah Kahan Set to Extend U.K. Chart Streak With ‘Stick Season’

It’s Noah Kahan season in the U.K., as the American singer songwriter looks set to extend his reign over the singles chart, and separately land the top debut.

The Vermont artist’s folky hit “Stick Season” (via Republic Records) appears set to capture a fourth consecutive chart crown. Based on midweek sales and streaming data published by the Official Charts Company, “Stick Season” mounts a lead of 7,000 chart units over its nearest rival.

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That rival is Sophie Ellis-Bextor’s “Murder on the Dancefloor” (Polydor), which keeps grooving thanks to its prominent sync in the black-as-coal drama Saltburn. Originally released back in 2001, “Murder on the Dancefloor” is forecast to rebound 3-2, to equal its best chart position.

Kahan should snag the week’s top debut with “Homesick,” his collaboration with British singer and songwriter Sam Fender. “Homesick,” a version of which appears on Kahan’s Stick Season album, is expected to give both artists their second U.K. top 10 single.

Meanwhile, Benson Boone, the U.S.-born singer, multi-instrumentalist and TikTok star, who was named as MTV’s Global PUSH Artist for October 2023, is on target for his first U.K. top 20 appearance with “Beautiful Things” (Warner Records). It’s new at No. 16 on the Official Chart Update. Previously, Boone nudged the chart at No. 46 with 2021’s “Ghost Town,” and cracked the top 40 for the first time with 2022’s “In The Stars,” peaking at No. 21.

Finally, Becky Hill and Sonny Fodera are eyeing a top 40 debut with their collaborative effort, “Never Be Alone” (Polydor). It’s new at No. 26 on the chart blast, and is set to give Hill, the English singer and songwriter, her 19th U.K. top 40 single, a tally that includes a No. 1 with Oliver Heldens on 2014’s “Gecko (Overdrive)”; and Fodera, the Australian DJ and producer, his second.

All will be revealed when the Official U.K. Singles Chart is published Friday, Jan. 26.